Matthew Ponsley may or may not be a split personality of Hugo, but what is certain is that what Matthew represents is the dark side of Hugo's body, just like Amon Goss and Anonymous, they are all an integral part of Hugo's personality.

The only difference is that Hugo controls himself very well when he plays Amon Goss; But this control fell into confusion in the process of playing Anonymous, and was finally completely destroyed in the process of playing Matthew, so the dark part of Hugo's personality began to take over, so Matthew's independent personality appeared.

Hugo's previous thinking was correct, he didn't have a split personality, it was just a self-loss in the process of delving into acting. Hugo's cognition of Matthew deviated from the track, and he separated Matthew from himself alone, so he completely lost control, and even led to a blank memory, completely acting in Matthew's form.

It's like committing an impulsive crime, and at the moment when anger overwhelms reason, the criminal's brain is blank, and he doesn't even know what he has done, and the crime has already been committed. Many criminals don't remember the whole crime afterwards, and even think it was just a dream, and they may say that the devil took control of their bodies at that moment. But in fact, it is precisely themselves who control them, they have never really recognized themselves clearly, and they hide themselves in the dark corners of their hearts.

When Hugo understood this, his troubles since the "Seven Deadly Sins" were answered, what is method acting, and what is table xiàn acting?

To put it simply, the process of figuring out the character is methodological acting, as if Robert were experiencing the life of a taxi driver, he was using this method to construct a situation that he had never experienced before, and then let himself really feel the situation.

But a lot of times the methodists can't really experience it, like the characters of Amon Goss, Anonymous, Matthew Ponsley, Hugo can't really kill people, he can go to watch World War II documentaries, he can talk to murderers in prison, but he can't really let his hands get blood.

The focus of methodist acting is to empathize with oneself, so that the actor can fully integrate into the role, in addition to the actor's own personality, but also to create the character and life of the character itself, and interpret the character as realistically as possible.

As for the acting skills of the Xàn school, it is "acting" in the traditional sense, and in a word, it requires the actors to make the most accurate movements and expressions at the exact time. Many acting academies train, the basic skills practice "joy, anger, sorrow, and happiness", which is the simplest expression xiàn school of acting.

Most of the British actors are representatives of the acting school, because the British academic style is very strong. In the UK, if actors want to get ahead, they basically need to go through such a process: professional acting academies, stage play polishing, and entering the film industry, and their basic acting skills are absolutely commendable.

So after entering the 21st century, many British actors began to attack Hollywood in a big way. Here's why: Hollywood pretty much represents Americans, and anyone can be an actor, not even with any acting skills, but not British actors.

The difference between the acting skills of the method school and the acting skills of the acting school is actually obvious, for example, the same role of Matthew, the former hopes to figure out what kind of mentality Matthew will show at this moment, while the latter is based on the script to show Matthew's anger, sadness, struggle, pain and remorse at the exact point in time. The former will appear more natural and more uncontrollable, relying entirely on the actor's understanding; The latter will appear more accurate, accurately showing what the director needs, and what is needed is the actor's control.

There is no so-called high or low distinction between these two kinds of acting, although method acting is very popular in Hollywood, there are many directors who require actors to use the performance of the table xiàn school, the most famous is Alfred Hitchcock, he even directly said "Method is not suitable for my film".

However, with the continuous polishing and development of acting skills, some actors have begun to try to combine the two acting methods, but unfortunately there is no absolute representative of super high achievements, and Al Pacino can barely be counted as one of them.

Al was the representative of the method of acting at the beginning, but with the growth of age, and the way of Al acting gradually formed a routine, he began to carve the details, and integrated the acting skills of the Epixiàn school into the method school, and the "devil spokesman" can be regarded as one of the representatives. However, it is a pity that after entering old age, Al lacks vitality, and although he is still good, he has not been able to reach the top again.

The reason why Hugo is troubled is actually because he tried to combine methodological acting with epithetical acting, but Hugo has never found a suitable method.

But after this period of struggle and torture, especially the performance experience of performing Matthew some time ago with a soul possessed to the point of almost splitting his personality, Hugo found some doorways.

Hugo relied on the method to figure out his acting skills, and he still used his own understanding to construct a three-dimensional image of the character, but in the process of acting, the expression of some emotions needs to be more precise and delicate, such as anger, how to accurately express anger with eyes, mouth corners, and body movements, even if it is the same anger, there are differences, anger that arises from the crown shooting, excessive anger and falls into self-doubt, and the eyes breathe fire but have to suppress their anger...... It's a huge issue to present these different types of anger, and to present them in the most accurate way.

In fact, this is also Hugo's shortcoming, because he is from a non-professional background, although he has taken some acting classes with Charlize and Alex, but he still has not learned these things systematically. But after years of acting polishing, including many wonderful performances by rival actors, Hugo also has his own understanding of the basic skills of acting.

Although Hugo has given many good performances before this, in Hugo's opinion, he is still not precise and delicate enough, and Hugo is precisely an actor who wins with delicacy, his explosiveness is lacking in front of old actors such as Al Pacino and Jack Nicholson, and he should be more like Dustin Hoffman, Tom Hanks, and other actors who win with delicacy in subtle ways.

Especially in works such as "Pulp Fiction" and "Before Sunrise", the performance requires the actor to inject soul into the character with his own understanding, so the delicate and precise Cheng dù of the performance has a great impact. However, the script of "Pulp Fiction" does not have much discussion about acting, and Hugo used methodological acting to devote himself to it, and added his own characteristics, which was a success; The script of "Before Sunrise" focuses more on the acting lines, and it is precisely the script written by Hugo himself, who understands it thoroughly enough and successfully completes the job.

But "Seven Deadly Sins" and "Death Row Walk" are different, these two roles are completely different, but they require the actors to use the most delicate changes to show the inner intricacies of the characters. So Hugo had a bottleneck in his acting skills.

At first, Hugo thought that the direction of acting should be to explore the situation of self and who controls the character, and he thought that "Schindler's list" is the character who controls the self, so he shows soul-like acting; "Pulp Fiction", on the other hand, is self-controlling the character, allowing Hugo to inject his own characteristics into the character in a limited space.

But this is a wrong idea, in fact, from beginning to end, Hugo is in the control of the role, and the actor is in the role, the difference is only in the actor's understanding of the role and how deep his understanding of himself is.

When an actor controls a role, he can't be controlled by the character's personality, because this is actually himself, but his different appearance and personality. Just as nerds have moments of revelry, nuns have moments of rebellion, and murderers have a soft side of heart, actors do not create this character out of thin air when performing, but sculpt the character according to their own understanding and with themselves as a specimen.

Therefore, in the process of acting, the actor is not actually performing, but digging out the side of his heart that is closest to the character, and then presenting it according to the direction of the storyline; But at the same time, the actor is not all himself in the process of acting, because he may show a completely different role from himself, and then release it to his heart's content.

What Hugo needs to learn now is how to present the most accurate performance at the right time and in the most accurate way, what he needs to do is not to substitute himself into the role, but to gradually release his inner self, and then carefully experience "what it feels like when I encounter such a situation", and grasp the whole situation in his hands with precise and delicate control.

To put it simply, in the past, Hugo's control of the rhythm of the performance was unconscious, which relied on accumulation and talent, but now Hugo needs to learn to consciously master the rhythm by himself, which requires skill and study.

It's like the role of Matthew, which is also that strong. In the scene of rape and murder, Hugo needs to release the beast in his heart, but he must clearly know why Matthew chose to obey Carl at that moment, why Matthew did not resist, why Matthew pulled the trigger, this qiē has a source, and Hugo clearly knows what the source is. So, how Matthew's madness, loss of control, hesitation, fear, timidity, and violence burst out at that moment, Hugo should know better than anyone else.

Alcohol is on the brain and poison. Taste on the brain, anger on the brain...... Years of repression have rotted a corner in Matthew's heart, he habitually shifts the blame to Carl, and then indulges himself, and convinces himself that only in this way can he support the whole family, but in fact, deep down, he enjoys such moments, he loves such majesty. So, when he saw Hope struggling beneath him, did he really feel no pleasure in his heart?

Hugo felt Matthew's soul trembling in the darkness very clearly at this moment, "No, no, no, Carl......" Matthew tried to stop Carl's ferocity, but his voice began to tremble, he looked around blankly, and at first glance he saw a shotgun in the mud, and then he picked it up, and aimed his hands at Walter with trembling.

His mother, his brother, the insults he had received, the days he had with Carl, the oppression he had, the pressure that society put on him, his alcoholic father, his mother's constant crying...... This qiē kept echoing in Hugo's mind instead of Matthew, his eyes flickered blankly, he didn't even realize that the hazy patch in his eyes was tears, but his pupils suddenly widened, and then ...... And so the trigger was pulled.

This qiē is so real!

An actor is an actor and a character is a character, but an actor is a character and a character is an actor. Hugo finally realized the taste, what he needs is self-control, self-expression, self-regulation, looking at the mountain is not a mountain, seeing the water is not water, but watching the landscape is still himself after all, and he is the one who has the initiative.